Post by twwphilippi on Jul 12, 2007 15:07:55 GMT
Acoustic guitarists, lacking whammy bars, get vibrato effects by "bending" the strings at the fret, which causes an increase in tension, thus a slight pitch bend which is always above the original note.
Fusion LFOs are not very guitar-like. They wiggle both above and below zero, causing the modulated pitch to go both above and (unlike the guitar) below the original pitch. We want a positive-only pitch offset.
One approach would be to route either the Mod wheel or aftertouch to both LFO (in turn routed to pitch) depth, and directly to pitch, so you can raise the apparent center point of the pitch as vibrato depth increases. With a little tweaking it would provide the effect of a positive-only vibrato.
A second approach, a little less cumbersome, would be to set up a table between the LFO and the pitch, mapping the input values "-100 through +100" to output values "0 through +100." (I haven't delved into tables yet, but I am sure that it would work.)
But there's a third approach that's both simpler and more expressive: assign aftertouch directly to pitch, with neither LFO nor table in between. It doesn't take much: start with an additive amount of 0.20% or 0.25%.
To use this, you will need to exert-and-release aftertouch pressure (a process we'll condense into the word "push") repeatedly: press a key or a chord, then push, push, push -- just like a guitarist repeatedly bending the note to get vibrato.
Waddaya know -- you're now playing idiomatically. It not only sounds more like a guitar, but when people see you doing the push-push-push action it will even look more like you're playing a musical instrument, instead of just pressing buttons and turning knobs.
-Tom Williams
Fusion LFOs are not very guitar-like. They wiggle both above and below zero, causing the modulated pitch to go both above and (unlike the guitar) below the original pitch. We want a positive-only pitch offset.
One approach would be to route either the Mod wheel or aftertouch to both LFO (in turn routed to pitch) depth, and directly to pitch, so you can raise the apparent center point of the pitch as vibrato depth increases. With a little tweaking it would provide the effect of a positive-only vibrato.
A second approach, a little less cumbersome, would be to set up a table between the LFO and the pitch, mapping the input values "-100 through +100" to output values "0 through +100." (I haven't delved into tables yet, but I am sure that it would work.)
But there's a third approach that's both simpler and more expressive: assign aftertouch directly to pitch, with neither LFO nor table in between. It doesn't take much: start with an additive amount of 0.20% or 0.25%.
To use this, you will need to exert-and-release aftertouch pressure (a process we'll condense into the word "push") repeatedly: press a key or a chord, then push, push, push -- just like a guitarist repeatedly bending the note to get vibrato.
Waddaya know -- you're now playing idiomatically. It not only sounds more like a guitar, but when people see you doing the push-push-push action it will even look more like you're playing a musical instrument, instead of just pressing buttons and turning knobs.
-Tom Williams
